The following is a complete
rewrite (not translation) of the above in English, to show my thoughts in more
accuracy and details:

My apologies in advance: This mishmash is written in
Deuglish. I mean no disrespect (by butchering the language). I simply must oft
resort to English fallback, due to my limited proficiency. While I might
eventually endeavor to properly learn German, I have yet to actually make such a
commitment. My current goal still is: to gain rough access to a whole new
world of literary, philosophical, cultural knowledge/experience; and have fun
while doing it. I also think it's interesting to show how I typically muddle
along in my "broken German."

This marks the first time I'm recording with proper
musical accompaniment. It really sounds much better than singing a cappella,
because the rhythm adds a lot to the character of this piece. The various
instrumental bridge passages also make the verses fit together. They would
otherwise appear as abrupt jumps (if I simply skip them), or very distracting
gaps of silence (if I were to duly follow the measures of rest in the vocal
part). However, singing with accompaniment also increases the training efforts
significantly, as precise timing is critical. The slightest mistake would make
the whole thing fall apart. In contrast, casual singing with freestyle timing is
much more forgiving.

Back in mid-January, I did receive
some coaching on pronunciation when I learnt to sing the first song
for public release: Nur wer noch träumen kann. All subsequent songs were learnt
entirely by myself independently. Any feedback or advice was
received after my initial release. Oct. 25, 2011

I decided that it'd be well worth the small investment
for the authentic instrumental accompaniment version. It's made available by a
French company, and I'm very pleased with the quality. They emulate the original
arrangement nicely, down to the minute details. It's richly orchestrated with
what sounds like a 20-piece band: Drum kit, percussion, bass, acoustic guitar,
electric guitar, rhythm electric guitar, piano, electric piano, synth pad,
strings section, brass instruments, and the all-important backing vocals for the
chorus.

Interestingly, when I bought the accompaniment track, I
also got the version 1 key lower, since that'd be more appropriate for my vocal
range. In the end, however, I decided to record in the same key as Helene's
original. I suppose, I was subconsciously thinking: in case I'm invited to sing
a duet with her some day, I'd be prepared. One never knows! ;)

I
know, I know...
I'm definitely going to
keep my day job!

Don't worry!

Nah... the real reason: Once I started recording, I
discovered that I find the change of key to be somewhat "disturbing." And is
that really so surprising? I mean... after singing along countless times
(out-loud, when I'm alone; as well as "singing" in the head, when I'm out and
about). To say that I have become so accustomed to it would be an
understatement. I listen while I'm waiting in lines (queues), when cleaning and jogging.
At this point, it's in my blood, in my sweat! Ultimately, it was actually easier
to strain myself a bit during the chorus and bridge sections, than to constantly
remind myself to shift key. It's amazing how one's brain can, over time, be
hardwired to the absolute pitch of each note, not just the relative pitch of the
melody.

Frühere
Versionen, Q&A, usw

Previous Versions, Q&A, etc.

Q:

What's new in this 2nd
Release?

A:

Mainly for correcting a few glaring pronunciation mistakes. The
remaining American accent has been minimized. Also subtle improvement
in several sections, with slightly better singing techniques and
expression. There are also numerous minor production aspect
adjustments. I might write about such technical matters in the future.

The practice tracks are here
not to torture you, but for mentors and fellow learners, to provide critiques,
and for insight and experience sharing
purposes.